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Ecology (Cambridge Dic.): the relationships between the air, land, water, animals, plants, etc., usually of a particular area, or the scientific study of this.

Environmentalism: protecting the earth from human pollution and destruction.

Ecocriticism: Not just the studies of nature in literature; “ecocriticism has distinguished itself, debates notwithstanding, first by the ethical stand it takes, its commitment tothe natural world as an important thing rather than simply as an object of thematic study, and, secondly, by its commitment to making connections ” (source).

the Hebrew creation in Genesis I - "not only established a dualism of man and nature but also insisted that it is God's will that man exploit nature for his proper ends' (Lyn White Jr. 'The Historical Roots of Our Ecological Crisis': 10).

classical tragedy -- reinforces the anthropocentric 'assumption that nature exist for the benefit of mankind,”

the pastoral tradition - a form of escapist fantasy, valorizing a tamed and idealized nature over wild no less than urban environments.

The problematic (Ref. Bate 136-) : “The picturesque was among the first artistic movements in history to throw out the Classical premise that art should imitate nature and to propose instead that nature should imitate art. It sought to treat entire landscapes in the manner in which earlier cultures designed gardens. . . . Garden  landscaped park – ‘seemingly natural, but in fact highly artful.’

The word “landscape” –land-scape “land as shaped, as arranged, by a viewer. The point of view is that of the human observer, not the land itself.” (Bate 132)

“Environmentalism” – environ means ‘around’. Environmentalists are people who care about the world around us: anthropocentrism, the valuation of nature only in so far it radiates out from humankind, remains a given (Bate 138).  deep ecology: “at the center of the deep ecological project is a critique of Cartesian dualism [of mind and matter, self and Other] and mastery.” How do we avoid being anthropocentric?

Bate draws upon Wordsworth as an exemplar of ecocritical thinking, for Wordsworth did not view nature in Enlightenment terms - as that which must be tamed, ordered, and utilised - but as an area to be inhabited and reflected upon.

“He [another poet] used to go out with a pencil and a tablet, and note what struck him, thus: ‘an old tower,’ ‘a dashing stream,’ ‘a green slope,’ and make a picture out of it . . .But Nature does not allow an inventory to be made of her charms! He should have left his pencil behind, and gone forth in a meditative spirit; and, on a later day, he should have embodied in verse not all that he had noted, but what he best remembered of the scene, . . . “ (qtd in Bate 148)

“The whole point of Keats’ great and (politically) reactionary book was not to enlist poetry in the service of social and political causes. . .but to dissolve social and political conflicts in the mediations of art and beauty.(J. MacGann, 1985: 53)

“What Keats said to his readers—and his rulers—is comparable to what Galileo is reputed to have muttered after his forced recantation to the Inquisition: “And yet it moves.” (Hawthorn 1996: 176, 179)  desperate confirmation of his belief in life and its contraries

(Bate 105) Air quality is of the highest importance for those whose lungs have been invaded by Mycobacterium tuberculosis. Keats was hurried to death . . . by the weather.

Bad weather with humid fog in 1816-1818, but a beautiful autumn in 1819. cause –the eruption of Tambora volcano in Indonesia in 1815. The effect lasted for three years, straining the growth capacity of life across the planet.(Bate 97)

A poem of networks, links, bonds and correspondences. Linguistically it achieves its most characteristic effects by making metaphors seem like metonymies. (e.g. mist and fruitfulness, bosom-friend and sun, load and bless – not naturally linked, but Keats makes the links seem natural.)